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Part Five Developing the Integrated Marketing Communications Program
Belch: Advertising and
Promotion, Sixth Edition
V. Developing the
Integrated Marketing
Communications Program
8. Creative Strategy:
Planning and Development
Figure 8-2 D’Arcy, Masius Benton & Bowles’s universal advertising standards
© The McGraw−Hill
Companies, 2003
1. Does this advertising position the product simply and with unmistakable clarity?
The target audience for the advertised product or service must be able to see and sense in a flash what the product is
for, whom it is for, and why they should be interested in it.
Creating this clear vision of how the product or service fits into their lives is the first job of advertising. Without a simple,
clear, focused positioning, no creative work can begin.
2. Does this advertising bolt the brand to a clinching benefit?
Our advertising should be built on the most compelling and persuasive consumer benefit—not some unique-butinsignificant
peripheral feature.
Before you worry about how to say it, you must be sure you are saying the right thing. If you don’t know what the most
compelling benefit is, you’ve got to find out before you do anything else.
3. Does this advertising contain a Power Idea?
The Power Idea is the vehicle that transforms the strategy into a dynamic, creative communications concept. It is the
core creative idea that sets the stage for brilliant executions to come. The ideal Power Idea should:
• Be describable in a simple word, phrase, or sentence without reference to any final execution.
• Be likely to attract the prospect’s attention.
• Revolve around the clinching benefit.
• Allow you to brand the advertising.
• Make it easy for the prospect to vividly experience our client’s product or service.
4. Does this advertising design in Brand Personality?
The great brands tend to have something in common: the extra edge of having a Brand Personality. This is something
beyond merely identifying what the brand does for the consumer; all brands do something, but the great brands also
are something.
A brand can be whatever its designers want it to be—and it can be so from day one.
5. Is this advertising unexpected?
Why should our clients pay good money to wind up with advertising that looks and sounds like everybody else’s in the
category? They shouldn’t.
We must dare to be different, because sameness is suicide. We can’t be outstanding unless we first stand out.
The thing is not to emulate the competition but to annihilate them.
6. Is this advertising single-minded?
If you have determined the right thing to say and have created a way to say it uncommonly well, why waste time saying
anything else?
If we want people to remember one big thing from a given piece of advertising, let’s not make it more difficult than it
already is in an overcommunicated world.
The advertising should be all about that one big thing.
7. Does this advertising reward the prospect?
Let’s give our audience something that makes it easy—even pleasurable—for our message to penetrate: a tear, a smile,
a laugh. An emotional stimulus is that special something that makes them want to see the advertising again and again.
8. Is this advertising visually arresting?
Great advertising you remember—and can play back in your mind—is unusual to look at: compelling, riveting, a nourishing
feast for the eyes. If you need a reason to strive for arresting work, go no further than Webster: “Catching or
holding the attention, thought, or feelings. Gripping. Striking. Interesting.”
9. Does this advertising exhibit painstaking craftsmanship?
You want writing that is really written. Visuals that are designed. Music that is composed.
Lighting, casting, wardrobe, direction—all the components of the art of advertising are every bit as important as the science
of it. It is a sin to nickel-and-dime a great advertising idea to death.
Why settle for good, when there’s great? We should go for the absolute best in concept, design, and execution.
This is our craft—the work should sparkle.
“Our creative standards are not a gimmick,” Steve emphasizes. “They’re not even revolutionary. Instead, they are an
explicit articulation of a fundamental refocusing on our company’s only reason for being.
“D’Arcy’s universal advertising standards are the operating link between our vision today—and its coming reality.”